Posted 04 April 2002 - 08:03 PM
Baryshnikov, the dreamy Marrianna Tcherkassky, Cheryl Yeager and buoyent Cynthia Harvey are the principles.
Baryshnikov's solo was danced to different music than I seen in the past. Does anyone know why? Is his original Chopinanna music?
I have to say ABT knows how to do Les Sylphides.
Posted 04 April 2002 - 08:13 PM
Posted 04 April 2002 - 08:28 PM
Glebb, I think I remember reading that Baryshnikov brought with him the sllo he'd learned in Russia. There are, I believe, as many different versions of Les Sylphides as there are companies Fokine visited.
There are also quite a few on video. I like the Royal's mid-60s version with Fonteyn and Nureyev -- and I never could figure out who the other ballerinas were. It's interesting because it's more classical trhan romantic, yet still very soft and musical.
There's also a Bolshoi one. I THINK I saw this long ago, as a film, with Ulanova and N. Fadeyechev.
There must be a Kirov version on video -- you can have a Les Sylphides festival, Glebb
Posted 04 April 2002 - 10:14 PM
Posted 05 April 2002 - 12:34 AM
Did you do the mazurka? What was it like to dance? Looks like the jumps are all soft, to deep fondu -- must take a lot of stretch and a lot of breath....
And of htecourse the pas de deux, your cabrioles would have to be so clear and so distinct ath te same time as you're being totally in touch with your partner, who's bourrees are going to show it if you jar her at all -- and aren't you both going BACKWARDS most of the time?
What a beautiful ballet.......
at, I THINK the second ballerina -- the blonde, WONDERFUL dancer -- is SIbley-- the one who does the quick jetes onto pointe and the tour jetes ending in arabesque looking peek-a-boo under the arm.... couldn't b e Beriosova, or could it?
Nureyev was very poetic in that mazurka -- so soft, so musical, such beautiful line... And Fonteyn is so musical, the way she coupes and launches into her bourrees, it's dreamy....
The Oakland Ballet -- I know, I must sound like their PR agent, God knows it isn't so, they've been an EXASPERATING company, but they DID do a beautiful Sylphides --
though they never filled the male role adequately, the ladies danced it beautifully -- well, it was such a pleasure to see it LIVE, in 3-D-- certain effects that are VERY beautiful, you have to be there to see... like at some point when everybody's dancing downstage right, the ballerina by herself upstage Left (it was Lara Deans Lowe who made me see this) does a long-sustained arabesque allongee that points to them...... maybe I hallucinated this image (it's the sort of thing a video cameraman might leave out altogether, since you have to see hte whole stage-picture to see it); it hangs in my imagination, though, as almost aharmonic convergence, something LIKE that must happen -- maybe "the miseries" (the Moyna and Zulma of Les Sylphides) were doing something, or maybe it was the ballerina and her partner and it was the seconda donna who made this reverence to them, but it was a WONDERFUL effect, very very quiet....
The last time they did it, Phaedra Jarrett danced one of the supporting variatinos with such an exquisite softness in the upper body, such generous qualities to the breath, you could feel Isadora Duncan inspiring Fokine’s project, that way she had of making the movement start in the breath that you can still see in Valentine Gross's drawings of her....
Posted 05 April 2002 - 04:02 AM
The slow tempo makes phrasing and attack paramount, and talk about casting against type - I was a demi-caractére dancer and here I was doing this dreamy legato! There's enough time in the music, given the tempo for the ups to be very much up and the downs to be very much down, but you have to move between the two more like a soap bubble being carried on a breeze. No "chugging" in the pas de mazourke! One of the trickier parts is in the very opening combination, which sets the tone and style for the whole rest of the dance. It's two mazurka steps, an assemblé dessus, a sissone to first arabesque and then a piqué into attitude croisé onto the foot that's raised in arabesque! And all seamless and with a liquid but still masculine port de bras throughout.
Compared and contrasted with the legato male variations that sprang up in ballets during the late 60s and early 70s, this one has them beat all to little pieces in terms of style and technical demand on a male dancer!
Posted 05 April 2002 - 04:05 AM
Posted 05 April 2002 - 08:05 AM
Posted 07 April 2002 - 06:27 AM
I've also heard that for "Chopinianna", the march, that is used at the beginning of Robbin's "The Concert" ,was the overture.
Does anyone know?
Posted 07 April 2002 - 06:46 AM
As a ballet, "Les Sylphides" first appears with that name in public at the 1909 Season of the Diaghilev Ballets Russes.
Posted 07 April 2002 - 06:53 AM
Posted 07 April 2002 - 06:55 AM
In 1909, with Diaghilev's Ballets Russes, LES SYLPHIDES (re-christened thus by Diaghilev and more or less in the shape known widely since then) was given in Paris, with orchestrations by Igor Stravinsky, Alexander Taneyev, and Galzunov.
w/ regard to the "Polonaise Militaire," to this day, or at least when it was last given hereabouts, the Kirov/Marysinksy Ballet has used this composition, orchestrated as in THE CONCERT, as an overture to its staging of CHOPINIANA.
i'm not sure if this rousing polonaise was part of the 1909 Paris premiere.
[my source for this information is appendix A in Lynn Garafola's DIAGHILEV'S BALELTS RUSSES (Oxford University Press, 1998)]
Posted 07 April 2002 - 12:41 PM
Posted 07 April 2002 - 02:00 PM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases. (If it doesn't appear below, your computer's or browser's adblockers may have blocked display):